This is a quick update on some areas of activity that have occurred here and there...

HERE: In December, I was included in a group show of small works at Beaver Galleries here in town. For this opportunity, I constructed a few pieces for a new series of work that I have called the Coordinate Series. I took some care in recording the method of thinking and making of these works in preparation of presenting the process at the upcoming Ausglass Conference in Adelaide this February. If you are interested in seeing the path of production for these forms, please come to the conference and check out the talk.

Over December and January, Australia went into holiday mode. This gave me the available time and focus to address the overdue fabrication of some important bits of infrastructure for our studio as well as build some new additions to the Watertower Series. The finalization of these forms are awaiting the return of their metal bits from the powder coaters, but when they are complete and constructed I intend to post a small entry to share the outcomes.﻿﻿..

THERE: Besides advancing some areas here at home, there have been some small wins happening beyond the horizon.

In Knoxville (at the Knoxville Museum of Art) a piece of mine (from the Bridge Series) that had been gifted in memory of a patron was finally given a new permanent home. I am excited about this placement and the ability to have a piece in their collection. If you find yourself in the area, please pay the Museum a visit.

At Traver Gallery in Seattle over January, some small works from my Parcel Series were included in a group show of their gallery artists. Please check out the gallery or their website to see the works and that of their other more talented artists.

The Bridge Series was my first kilnformed series. It led me into the kilnforming work that I am doing now. It was also the first body of my work that I thought I could stand behind and approach a gallery with.

This series was developed from the years I spent at Bullseye Glass working in the factory and with their visiting artists. During my time there I didn't make any personal artwork except for the sketches in my sketch book. I instead focused on learning about my craft and helping some of the leading talents in the game create their own work.

I was lucky to have had the job I had. I knew if the artists I had helped had had their choice, I would have not necessarily been the one they wanted as their assistant. My position at Bullseye forced me to tackle many different tasks and expand my understanding of glass and art.

Near the end of my time at Bullseye, the company decided to have a show of the employees' personal artwork. I had been sketching bridge forms and thought I would make one for the show. Here is the original sketch from my sketch book:

The bridges are about connecting a situation with an outcome. Each one deals with a certain personal situation that is abstracted into a contained form. Some situations are built and connect well and some can not span the distance. The lines inside the pieces are firm and distinct. Their surfaces are gently burnished to give a sense of time and memory.

I started the series in 2001. This also was the same year that I left Bullseye. This series helped me define my focus with glass and also provided my start showing with the Traver Gallery and others.

However, my life changed and my focus shifted. I started a new chapter building my own studio. With a studio, my focus and periphery was filled. I could no longer just react to separate small situations. I began building Towers.